An amazing resource. Thank for posting it. I'd like to see it displayed on a real, calibrated monitor. -Bob Bob Kertesz BlueScreen LLC Hollywood, California Engineer, Video Controller, and Live Compos

That’s a fair distinction. However, at the below $10K market these options are limited. We were speaking of the FS7, which does not record RAW natively but can via the Odyssey record CDNG. It also has

Hard drive storage is now only around $30/TB. Sony RAW is about 2 hours / TB = ~ $15/hour (minimum wage in some places). 3 copies x $15 = $45/hour. I really don't think it's about the money. Noel Ster

Granted I’m an FS7 owner so maybe this is just sour grapes, but isn’t what you are really comparing the post process each of these cameras has gone through not the cameras themselves. That’s immediate

A new poll has been created: Okay, so... Fairly evidently I messed up when rushing this out the door. I've now taken a bit more time, keyed out the green (more or less)... fixed a couple more issues w

A new poll has been created: In February 2018 I organised a mini shootout of budget cameras (under €10k) in Berlin. I never released them as I messed up one of the cameras, didn’t have time to finalis

Hi all! Seeing if anyone has a contact name for someone at Canon? I wanted to see about implementing canon raw light in the canon c700 FF. Thanks all! Ed David www.eddaviddp.com ed.david@...

Hi guys, I recently got a canon c700 PL mount s35 version and thinking of upgrading to the FF sensor - wondering if there are tests of the new sensor vs the older sensor to see dynamic range, low ligh

A few weeks ago I was test driving one of the first production models of Panasonic FZ2000 HDR OLED screens and wanted it to be calibrated and matched to my reference monitor Sony BVM X300. As I am not

I’ve tried my first HDR experiment on Vimeo, if you can stream HDR then please check it out… https://vimeo.com/321195850 It should be possible to download the original file as well. As it says on the

Hey everyone, I have a vague recollection that the original Rec709 LUT for the Alexa was updated at some point. And now have a director who's insisting on using the original version that Arri created

I’ve updated all of these and added a 4th variant, my personal favourite. This compensates for overexposing by a stop. Set your camera to the recommended EI and your meter to half that. The monitor wi

I’m experimenting with using Resolve to generate onset LUTs that include the ACES process, they’re like the ones I did last year with Nick Shaw but in Resolve in Windows as the generator instead of Pr

>I know it's the same sensor as the FS7 but LUTs for it seem to be different....or come out differently. I’m curious about this. I shot quite a lot with both the F5 and FS7 and never noticed, although

I had a great visitor today, Hans Hijmering the man behind the Rawlite OLPF. He came to CML HQ and swapped out the standard filter for his OLPF + IR. It was a surprisingly fast and easy operation. The

I’ve updated the camera response chart so that now instead of using the manufacturers default settings I’ve used the camera metadata. We were very careful with the camera settings when we shot, and it

I’ve hesitated posting this chart because I know I’m going to get enormous grief from it but WTF 😊 The cameras are Alexa-Mini, Canon C200, Panasonic Varicam Pure, RED Monstro & Sony Venice The figures

In case no one seen this: Nikon are to add raw to the Z7 https://nikonrumors.com/2019/01/07/breaking-nikon-to-add-cfexpress-eye-af-and-raw-video-support-to-the-z-mirrorless-cameras.aspx/amp/?__twitter

I’ve just added a new page of comparisons on www.cmltests.net As the subject says it’s a comparison of video, film & braw shot with an Ursa Mini Pro. The page has the details of how it was shot, in a

The Academy event at the Linwood Dunn Theatre which was part of the International Cinematographers Summit organised by the ASC is now online. https://acescentral.com/t/international-cinematography-sum